
Will Kane, a weary sheriff, has just married Amy and plans to retire, but news arrives that the outlaw he once jailed, Frank Miller, is riding into town on the noon train for revenge. Kane tries to rally the townspeople, yet his former deputy Harvey refuses, and his lover Helen—torn by past affairs—leaves. As high noon approaches, Kane must face the threat alone.
Does High Noon have end credit scenes?
No!
High Noon does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of High Noon, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Tom Skerritt
Will Kane

Michael Madsen
Frank Miller

Tom McBeath
Rudy

Noel Fisher
Billy

Dennis Weaver
Mart Howe

Reed Diamond
Harvey

Judith Buchan
Glenda Beattie

Frank C. Turner
Station Master

Matthew Walker
Judge Mettrick

Jim Shield
Colby

Susanna Thompson
Amy

August Schellenberg
Antonio

David Lereaney
Sam Beattie

Peter Strand Rumpel
Volunteer #2

María Conchita Alonso
Helen

Andy Maton
Minister

Colin A. Campbell
Jordan

Stephen Eric McIntyre
Pierce

Jacqueline Robbins
Jane

Joyce Robbins
Hannah

Joe Norman Shaw
Dave Cleaver

Randy Birch
Fellows (Uncredited)

Shaun Johnson
Joe Henderson

Terry King
Henry Munchhausen

Kate Newby
Janet Munchhausen

Brian Stollery
Hotel Clerk

Trevor Leigh
Pete Cleaver

Jim Leyden
Simpson

Royal Sproule
Liam

Rainer Kahl
Volunteer #1

Larry Austin
Volunteer #3

Bob Chomyn
Skeptic

Jim Rattai
Card Player

Brent Woolsey
Gunman

Thomas F. Legg
Old Cowboy

Chelsea Lunan

Stevie Mitchell
Kid #1
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Read the complete plot summary of High Noon, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
In the late 1890s, Will Kane Tom Skerritt serves as the chief marshal of Hadleyville, a quiet town in the New Mexico Territory where, even with all of his deputies resigning, he continues to serve out of a deep sense of duty. His wife, Amy Susanna Thompson, is a Quaker pacifist who abhors violence, and she urges him to retire and settle into a quieter life as a farmer.
Yet a return to violence disrupts the peace: Frank Miller Michael Madsen, a gunfighter and killer whom Kane helped bring to justice years before, has been pardoned and will ride into Hadleyville on the noon train with his old gang. A message arrives warning that Miller’s first order upon arrival will be to take Kane’s life as payback for the past.
Kane reaches out to his former deputies for support, but they refuse out of fear or because his insistence on treating everyone fairly makes them wary of any special treatment. He then attempts to assemble a posse, but the townspeople grow more divided and reluctant to fight alongside him. Some admire Miller’s notoriety, hoping it might bring fame to the town, while others insist that it isn’t their problem to solve. A few volunteers appear, yet Kane is forced to turn them away because they are too young, too old, or otherwise unfit for the coming confrontation.
Desperation drives him to seek counsel from Judge Mettrick [Matthew Walker], who had already resigned his position. The judge’s blunt advice is to leave town, the path he himself had planned to take. But Kane refuses to abandon his post; he resolves to face Miller and his gang alone, determined to protect Hadleyville even if it means facing the danger by himself.
Amy, who had warned she would board the noon train with or without him, returns and proves she will not abandon him, shooting one of Miller’s men in the back. The tension culminates in a deadly showdown when Miller threatens Amy and Kane finally disposes of his old foe.
In the aftermath, the town emerges to commend Kane, yet he remains unswayed by their praise. He removes his marshal’s badge and rides away, leaving the crowd to celebrate a man who chose duty over comfort, and who paid the ultimate price by standing alone in the face of violence. The narrative presents a portrait of civic duty, personal risk, and moral resolve, echoing the notion that courage can be as solitary as it is necessary.
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